A belated dewenati / happy new year to everyone.

After a month-long break Benn loxo is back. I hope you all had a nice holiday season.

Lately I’ve been reading a great book by Gary Stewart, Rumba on the River. It covers the history of 20th century Congolese popular music on both sides of the river, mainly in what are today known as Brazzaville and Kinshasa. Even if you have only a passing interest in Congolese music I really recommend this book. It’s an entertaining read that packs in a lot of information while still managing to tell an engaging story.

Aside from now knowing a large chunk of the groups involved, I’m no expert in the cultural and social history of Congolese music. One thing I certainly didn’t know is how much of a role Congo’s Greek community played in the development of popular music. Almost all of Congo’s greatest stars such as Franco, Dr. Nico, Rochereau, Essous, Kalle and others got their start in Kinshasa and Brazzaville’s Greek-run studios, clubs and labels throughout the 40s, 50s and 60s.

Much like with the Lebanese of West Africa and Indians of East Africa, Congo had a wave of immigration from European political trouble spots during the first half of the 20th century. Many young Greeks had fled the post-WWI troubles of the Greco-Turkish and Greco-Italian wars at home in search of adventure, stability and business opportunities. Plenty arrived on the banks of the Congos.

For reasons that are still not entirely clear to me many of these young Greeks took an interest in the local popular music of the time. Skeptics might argue that they were in it for the money, but starting a successful record label in mid-century Congo wasn’t exactly a guaranteed get-rich-quick scheme. You had to like the music to take the risk. Regardless, by the early 50s nearly every record label and studio in Kinshasa and Brazzaville was run by Greeks. Names like Olympia, Ngoma, Opika and Loningisa, all Greek-run, will all be familiar to Congolese music enthusiasts.

I found myself wondering: what kind of music were these young Greeks listening to back home before they arrived in Congo?

Some help from my friends at Calabash Music (which has been down for a few days, what’s up?) plus a little armchair research later, I offer you Rembetika: Songs of the Greek Underground. Rembetika was a style from the early to mid-20th century that would eventually evolve into Greek popular music.

You’ll hear two Greek Rembetika tracks today, the first by the famous 1930s singer, Rosa Eskenazi, the second a 1936 recording by Jorgos Batis.

It’s interesting to hear the contrast of the music that Congo’s Greek community left behind in their native country with the new sounds that they were producing in Congo. With that in mind, we’ll also hear some music from a few of era’s big stars, Kalle, Rochereau, Nico and Franco.

ps- there’s been much buzz lately about Matthew Lavoie’s African music blog on Voice of America. Great tunes from a humbling musical archive and wealth of knowledge.

Rosa Eskenazy - Eimai Prezakias
Jorgos Batis - Zoula se mia varka bika
O.K. Jazz - On entre OK on sort KO
Orchestre African Jazz - Merengue Fafa
Kalle and Rochereau - Afrika Mokili Mobimbi

Today we’ll hear a couple tracks off Original Music’s compilation of Zambian miners’ songs, From The Copperbelt. The recordings were all made by the amazing Hugh Tracey.

I’ve always had a thing for southern African, mid-20th century music. George Sibanda and The Forgotten Guitars of Mozambique compilation were early favourites.

From The Copperbelt covers a range of styles present in the Zambian mines in 1957, all based around the European acoustic guitar. Most of the musicians are bards who traveled from mine to mine, entertaining the miners. Others are by the miners themselves. All are great, if you’re into this kind of thing.

Zambia occupies an interesting part of the continent. Its geography influenced its inhabitants’ music, especially at this early stage of “modern” African musical development, such that some music sounds distinctly South African, while much of the rest sounds very Congolese.

You might have already heard some John Lushi, who appears on this compilation, on Original Music’s Africa Dances release.

Isaac Matafwani - Eko Bali Mukanina Bamayo
William Siwale - Mayo Mayo
Four Pals - Nifwe Ba Four Pals

Today we’ll hear a few songs from Original Music’s CD re-issue of their 1983 release, Songs The Swahili Sing.

Initially I wasn’t so into it, but this morning I was really taken by the music.. particularly the music by Yaseen Mohamed and Juma.

The compilation explores the world of Swahili “taarabu” music, particularly its difference from Arab music.

I like this compilation because in a short span of time you get to hear a variety of major musical influences that shaped music from this area. The first track, Watetao, has hints of Cuba. The second, Egyptian pop. (The liner notes claim that Egyptian is a Swahili term for Arab-sound.) The third, Indian.

The last track I’ll post, Lala Mpenzi, is easily my favourite of the bunch. You can also find it on the Mississippi Records compilation, Lipa Kodi Ya City Counci.

O.I. Bampini and the Jauharah Orchestra - Watetao
Abbas Haji and the Egyptian Musical Club - Mahaba, Jamani, Yanaitilie
Juma Bhalo - Kem Kem
Yaseen Mohamed and Saada - Lala Mpenzi

Back to the Original Music posts…

Jamilia: Songs From A Somali city is collection of music recorded in the Somali town of Baraawe, about 120 miles south of the capital, Mogadishu.

You heard a track off this album the other day, Dakhtar, since it also appears on the OM compilation, African Acoustic: Sounds Eastern & Southern.

Today’s track is about, in the words of John Low’s liner notes, “one more woman, one more love song.” It’s sung in Somali. I can’t figure out if it’s played on an oud or a standard six-string guitar, played in a way that makes it sound a bit like an oud.

I wonder if one day instead of posting about music from Somalia we’ll have to instead do mini-features on the sounds of Puntland, Somaliland, Maakhir and Galmudug.

While roaming around the net for pictures of Somaliland, I stumbled upon a great photo site. Check it out.

Amin Xaaji Cusmaan - Laiilaaf

Wow, busy week. Feeling a bit tired this morning. A little Zambian “you’ve done me wrong” acoustic by George Kazoka lifts me out of bed and into my mug of coffee.

Today we’ll hear music from yet another Original Music release that explores the various forms of music that were spawned by the acoustic guitar as it spread across Africa: Guitar Songs From Tanzania, Zambia & Zaire.

You know, I never was good at the guitar. Something about stringed instruments has always eluded me. Piano, percussion, horns, no problem. But for whatever reason my fingers could never quite work the frets the way they should. It’s a shame, really, because it’s such a portable and almost universal instrument. In my next life, I guess.

George Kazoka - Ulayinda Kubota

One of my favourite strands of music from across the African continent is a variety of styles that employ the European acoustic guitar. Original Music’s compilation, African Acoustic: Sounds Eastern and Southern, as the name implies, explores just that in eastern and southern African countries.

My two favourite tracks are both from the East so we’ll hit some southern acoustic another day.

The first is by the Kikuyu Kenyan duo, Peter Kimuri and Patrick Roy Roger. The track’s title apparently translates into “Kirinyaga is Our Good”, refering to a legendary tribal founder.

The second track is by Somalian steel guitar player, Amin Xaaji Maxamed. We don’t get to hear Somalian music too often, and Maxamed’s oud-like guitar playing and Arab-influenced singing is great.

Patrick Roy Roger & Peter Kimuri - Kirinyaga Ni Igai Retu
Amin Xaaji Maxamed - Dakhtar

Nacio Makanda’s growling on the track Kerestina sounds like I feel this Monday morning. A pinch of grumpy, a dash of missing the weekend, with its beer, fish and wine.

Another Original Music post today on my quest to post it all. Today’s tracks come from the 30th OM release, Kerestina: Guitar Songs Of Southern Mozambique 1955-1957. It doesn’t get much more niche than that.

I’ve always liked music from Mozambique and the songs on this release are no exception. Easy going and jangly, plus I love the sound of the languages spoken in that part of the world.

Mozambique is on my places to visit short list so hopefully I’ll be able to bring you more Mozambican music first hand sometime in the future. In the meantime, five bucks to anyone who can pronounce the first track’s name five times fast.

Mahikwani Makhuvele - Hayilolosa Amale Ye Matshangana
Nacio Makanda - Kerestina

A few days ago we heard some 1960s highlife from Lagos.

Following the Nigerian civil war, or Biafran war for independence, depending on your history book, juju replaced highlife as the dominant musical force in Western Nigeria. While there were still a few Yoruba highlife musicians left in Lagos the dominant Igbo highlife stars had left town and juju musicians like Ebeneezer Obey were taking over.

Original Music’s 37th release, Lucky Stars Rosy Mornings, explores the exploding juju scene in Nigeria’s second city, Ibadan, located in western Nigeria, during the 1960s.

The compilation is filled with scratchy, lovely tunes that remind us how juju sounded before it sped up and got whacked over the head with a synth during the 1980s.

Professor Sunny Agaga & his Lucky Stars Band - Olorun Lomo Ola
F.A. Jimmy West & his Rosy Morning Band - Ijesha Ile

Easy-going, jangly palmwine guitar for a mid-week post.

On his Original Music release, African Elegant - Sierra Leone’s Kru/Krio Calypso Connection, John Storm Roberts explores the relationship between palmwine guitar music from Sierra Leone and Liberia and Trinidadian calypso brought to West Africa by sailors passing through Freetown in the late 19th century.

Ebenezer Calendar, the musician you’ll hear today, was called the “calypso king” in his native Freetown, Sierra Leone. He was the country’s most famous palmwine musician during the 1950s and, according to the liner notes, “seemed to be personally known to almost everyone in Freetown.” This made him an ideal candidate to sing about everyday life in the city, the core of any good krio/calypso/palmwine song’s lyrics.

Ebenezer Calender & his Maringar Band - Fire Fire Fire

I’m determined to eventually get a post in for every single Original Music release. I know that many of you, or at least those who read often, may already have these albums, but bear with me. It’s a personal goal to collect and post a sample from every album in the OM catalog.

Today’s picks come from Original Music’s 17th release, Mbuki Mvuki. It’s a compilation of, in their words, “terrestrial hits from the catalog”. So if you’re not into running around, collecting every release, this album is a good sampler of much of what the label offered.

According to the liner notes, Mbuki Mvuki is Bantu for “to shuck off one’s clothes in order to dance.” I don’t know about you, but that’s what we’re doing here in our Paris apartment this sunny Saturday morning.. dancing, possibly with some by-request Diana Ross thrown into the mix, coffee in hand.

Three of my favourite tracks off the compilation from Ghana, Tanzania and Nigeria. Enjoy your Sunday.

Professional Uhuru - Madzi Me Sigya
Salim Abdullah - Wanawake Wa Tanzania
New Star Orchestra - Olefaya Loko

I revived Benn loxo with some Nigerian 70s rock courtesy of Soundway yesterday, so we’ll continue along a similar path with another in my long series of Original Music posts.

Today’s tracks come off one of my favourite Original Music releases that I’ve heard to date, Azagas & Archibogs - The Sixties Sound Of Lagos. The compilation features a collection of Nigerian Igbo, Yoruba and other highlife groups from Lagos. The songs have been (slightly) remastered from 45rpm records released during the early to mid-1960s.

It’s interesting to hear some good Yoruba highlife from this period, before Juju and Afrobeat took over. Most of the Nigerian highlife I know is from the Igbo east of the country, a region that for me, maybe aside from Ghana, produced Africa’s best music during the 1960s. However, it’s clear after listening to this compilation that Lagos’ Yoruban groups definitely had a good thing going as well.

Charles Iwegbue & His Archibogs - Okibo
Eric Akaeze & His Azagas - Adunni

There’s something really sexy about the word ‘rumba’. It’s also a bit of a misnomer in that over the years it came to represent a variety of Cuban-influenced musical styles popular across Africa, not all of them ‘rumba’ in its original sense.

While the heart of rumba was in the country-formerly-known-as-Zaire, there were many great groups in other countries as well. One reason is the civil war that erupted in Belgium Congo during the 1960s. It forced many Congolese musicians out of the country, a bunch of whom ended up in Tanzania.

Tanzania, located in East Africa just below Kenya, was heavy into the Afro-Congo-Cuban sound during the 1960s. Original Music’s 1983 compilation, The Tanzania Sound, captures this beautifully.

Reading the liner notes this morning I noticed a translation of the lyrics for the Dar Es Salaam Jazz Band’s up-beat track, Fitina Nyingi: “Everyone’s rotten, nothing’s any good, I’m better off alone than with these no-goods.”

Now if that isn’t an upper to get us through a grey Friday, I don’t know what is!

ps- thanks, John.

Nuta Jazz - Janja Yako
Cuban Marimba Band - Beberu
Dar Es Salaam Jazz Band - Fitina Nyingi

A really quick post before I have to run into work.

Today’s track is once again from an Original Music release, Siya Hamba! 1950s South African Country And Small Town Sounds, a compilation of popular music in South Africa at the time.

I agree with the liner notes when they refer to the 1950s as the glory days of South African music. Upbeat rhythms with wonderful female lead vocals were just a couple of the highlights of the era.

I should say at least that the title of today’s track appropriately translates into the title of today’s post. I’d go on but I can’t be late today! I’m sure that, as always, Benn loxo listeners will fill in the gaps where needed in the comments.

So enjoy this smalltown jump as I fly out the door…

The Jury Mpelho Band feat. Irene Buyiswa Ndumo - Puma Endlini Yam

One of my favourite Benn loxo readers, one who is responsible for introducing me to a lot of the music on this site, recently turned me on to Ignace De Souza.

Ignace De Souza is one of the those forgotten greats of West African music who was very influencial in his day. To give you an idea, in the liner notes of an Original Music compilation of his music, John Storm Robers credits De Souza’s track, Ole, as being the first afrobeat recording.

Originally from Benin, De Souza got his first big start when he got a gig playing sax with Alfa Jazz, who John Collins credits as being the first professional dance band in Benin. In later years De Souza moved to Ghana and played with several groups before forming his own. By the mid-60s, De Souza and Black Santiagos had become quite popular and began introducing Congo music to Ghana.

While a lot of the music on this Original Music comp sound pretty much like what you’d expect from the time and place they were recorded, there are several stand-out tracks. Two come to mind: Asaw Fofor for a 1960s chase scene and Anyenko for laid-back, “protofunk” summer music.

Unfortunately, great things never last. Does anyone know why the Black Santiagos split? Either way, in 1970 De Souza left Ghana before eventually settling in Lagos where he played with the house band at the Ritz Hotel. (I can’t help but associated this last bit with an image of Murph and the Murphtones at a Holiday Inn in the film The Blues Brothers.)

ps- you can still buy this album at Stern’s.

Ignace De Souza - Asaw Fofor
Ignace De Souza - Anyenko
Ignace De Souza - Ole

I happened to sit beside Charles Schillings at a good Sicilian restaurant last night in Paris. Hopefully this means we’ll be featuring some Afro-electro remixes sometime in the future. Either way, the forthcoming Hôtel Costes 10 that he slipped us features a great opener with the kind of North African overtones we so appreciate here at Benn loxo.

Anyway, back to more Original Music…

Today we’ll hear a couple tracks off Dada Kidawa Sister Kidawa, an interesting compilation of Cuban/Afro-Arab music from Tanzania in the 1960s.

It features venerable bands such as NUTA Jazz plus several others like the Kiko Kids Jazz and the Cuban Marimba Band. All these groups emerged during a guitar-based, dance music phase in Dar Es Salaam that emerged during the early 60s.

The compilation’s title track is perfect for what is probably France’s quietest week. Everyone is on vacation, most stores and restaurants are closed. If Paris were on the ocean I’d be down on the beach, listening to Western Jazz Band as I sipped a cocktail under a palm tree.

ps- Benn loxo listener, Zakariyya, is looking for Afel Bocoum’s Alkibar. Does anyone know where he could buy or trade for a copy?

Kiko Kids Jazz - Tanganyika na Uhuru Kids Jazz
Western Jazz Band - Dada Kidawa

Nice to meet yet another Benn loxo listener and a few of his friends a couple nights ago. Never hesitate to get in touch if you’re through Paris or live nearby..

Anyway, thanks to several of you I now have 23 out of the 39 Original Music releases. I hope to complete the collection at some stage so please get in touch if you’re up for a trade.

In the meantime I’ll try to keep sharing the wealth here on Benn loxo with some music from a 1996 Original Music release, Sam Chege’s Kickin’ Kikuyu Style.

As you read this I’m probably sipping Guinness, eating oysters and riding hookers.. not to mention birthing a calf somewhere. Imagine me doing this all simultaneously while singing Sam Chege. Seriously, even a dip in the cold Irish Atlantic couldn’t get this guy’s catchy, up-tempo music out of my head.

Chege is a Kenyan musician who plays benga in a fast Kikuyu style, as opposed to, say, the Luo way. His sound also has a strong soukous feel. I read a review that said it also drew upon Nigerian influences… but really? Name three.

As usual, I’m a little weak on my East Coast African music knowledge, but a little digging revealed that Chege is actually a relatively young guy, having finished his graduate studies in the US just a few years ago. He grew-up in a rural Kikuyu part of central Kenya before moving to Nairobi where he worked (or works?) as a music journalist.

Sam Chege - Victoria

More today from the seemingly endless of supply of great music on the Original Music series.

Today’s tracks come from the compilation, I’ve Found My Love: 1960’s Guitar Band Highlife of Ghana.

“King” Kwabena Onyina is one of the unsung heroes of Ghanaian guitar band highlife. He was well-known in his native Ghana during the 1950s, 60s and 70s for his guitar playing, great voice and catchy songwriting.

The “King” bit is a title he earned from winning a guitar competition in 1961. (You can thank the unsung hero of African music reviews, Banning Eyre, for that factoid.)

I know nothing about the Royal Brothers. Anyone care to fill us in?

Have a nice weekend.

King Onyina - Manya Me Dofo
Royal Brothers - Ohia Woa Enwu

I’m a total sucker for West African music that starts with a heavily accented, spoken introduction. Maitre Gazonga’s classic of classics, Les Jaloux Saboteurs, springs immediately to mind. (As does dancing our faces off to that track in Brittany last weekend, rocking sunglasses, punch, flip-flops and a whole lotta mustache.) Franco and Sam Mangwana’s Cooperation is another example of a classic spoken intro.

With this in mind we continue with our Original Music series with a little Godwin Opara and his Oriental Brothers from the Do It If You Can/Onye Ikekwere Mekeya compilation.

“Oriental Brothers” actually refers to quite a few related bands. Frontmen came and went over the years and the band took many forms. Opara’s Oriental Brothers were the true originals, followed by Dr. Sir Warrior’s and several others. We’ll hear from the latter later.

The opening line sounds a bit like he’s yelling, “Hello, France!” I can just picture him waving out to the crowd at Place Ste. Marthe during Fête de la musique..

Listening to the Oriental Brothers always reminds me of Dulue, who introduced them to me many years ago in Lagos. Tip of the hat your way, Mr. Mbachu.

Do any of you have copies of the original Afrodisia Oriental Brothers releases?

See you in a couple weeks. Hopefully I’ll have much Bolivian folkloric funk to share.

Oriental Brothers - Oh Dear Jesus

Great time in and around the Place Ste Marthe last night at Paris’ Fête de la Musique. From North African jams and South American dance sessions to aggressive street drummers and some damn fine Andean chicken.

Too many nights out lately. I need something simple to counter the weeks of wine in my system: old-school Kenyan sounds from Original Music’s first volume of Before Benga.

The first track reminds me a lot of that classic of classics, Swamp Thing by The Grid.

The second one is just, well, special.

Finally, Wiliamu Osale’s great tune rocks us gently into Friday morning. Only 10 hours until the weekend…

ps- couldn’t find a good shot of the Kenya Dry cover so instead to our left you’ll find Paul Nabor and Andy Palacio at their show in Paris last night.

Unknown - Thum Nyatiti Solo
Unknown - Chemirocha
Wiliamu Osale - Usimalize Mali

These past few posts have generated a heavier than normal volume of e-mail from Benn loxo readers. Thanks- I always appreciate hearing from you. One note this morning from Johnathan really stuck-out. He runs a site devoted to his 78 collection (that’s right, 78s, not 45s) that includes some real gems, a lot of them African. Check it out over at excavated shellac.

Benn loxo behind the scenes contributor, Andrew, also wrote to point out that that Amazon UK have a lot of the Nonesuch Explorer series on offer at the moment for only £5.00 or £6.00. Worth checking out.

Saw a great Andy Palacio show last night. Two encores really got the place moving and Paul Nabor was amazing.. how old is that guy anyway? He rocked the mic like no other 90-something that I’ve seen live.

Fête de la musique is tonight. I’ve never actually been in town for this French tradition before, but I have to say I’d rather be at any one of its offshoots happening tonight in Cameroon, Congo, Ivory Coast, Madagascar, Senegal.. and loads more. Even Djibouti and the Comoros are joining the fray. Shows you how much important the French cultural centers in sub-Saharan African are in terms of promoting local music, dance and art.

Finally, I’m heading to Buenos Aires and La Paz this weekend. Any tips?

I guess we need some music, too.

Marie Louise Congo told me how Rwandans tend to be a quiet, polite bunch with prix fixes in the markets. So if you’re living in Rwanda, Uganda is the place you go when you miss hard bargaining and need some West African-style colour. Their music is definitely full of colour, and though I own very little Ugandan albums the few tracks I’ve heard have got me dancing.

Keeping with the Original Music theme I’ll post a couple tracks off John Storm Robert’s Ugandan mix, Kampala Sound: 1960s Ugandan Dance Music. A great compilation of pre-Amin gems.

Charles & Frida Sonko with Orchestra Melo Success - Nawuliranga
Kawaliwa & Mary with the AGS Boys - Fumbria Abaana